resources

How to Survive and Prosper as an Artist

How to Survive and Prosper as an Artist: Selling Yourself without Selling your Soul

by Caroll Michels

Paperback: 368 pages
Publisher: Allworth Press; 7 edition (April 10 2018)
Language: English

In the newly published Seventh edition of this popular artist self-help book, author and artist career coach Caroll Michels gives a step-by-step overview to launching an art career. The author begins with a lament that too many artists are reluctant to treat their career as a business, with a caveat that the recent trend towards artists treating themselves as “artpreneurs” and worrying about their “brand” might not be the most appropriate way forward. This book aims to set out a clear path for artists looking to thrive in the fine-art market, dominated by the commercial gallery system and a dealer network.

The books strengths are in the chapters focusing on dealers and commercial galleries, as befits an author whose day job is helping artists secure exhibitions and gallery representation.

The chapter on press relations includes great examples of how to write a press release and a press pitch, how to schedule press with a 12 month lead in to an exhibition, and a plethora of ideas on where to send your marketing materials.

While chapters on art marketing and social media are also included, these are less in-depth chapters, and readers who want to maximize their social media presence should look towards other resources.

I highly recommend this book as a resource for artists who are either ready to turn their art practice into a viable career in the fine art world, or for artists who are already in the trenches and want to arm themselves with relevant information to help them get to the next level. The book is aimed squarely at the fine art-market, more than the fine-craft, and more towards artists looking to be in the fine-art world than looking for DIY resources.

Posted May 8th 2018 by Peter D Harris

Living the Dream: The Morning After Art School

by John Watson and Brian Horner, with a foreword by Dr. Jeffrey Hughes

Series: A DIY Guide to the Art Business
Paperback: 90 pages
Publisher: Kendall Hunt Publishing; 1 edition (February 27, 2017)
Language: English

“If your art school career was anything like mine was, then most of your studies, work, and preparation were focused on making and understanding art, and very little, if any, attention was paid to the nonart part of your future career.” pg ix With this statement in the preface, I knew I would be able to connect with this book, as that one phrase perfectly sums up my own art school experience, and my preparation for the “real world” after graduating. This book is hyper-focused on providing a brief overview to the recent graduate looking to embark on a career in the arts.

The chapter headings are designed like art school lessons: Sketch, Composition, Process, Craftsmanship, etc,. Each heading neatly frames the lessons involved in starting an art world career. I’ll go through the chapters here with a brief synopsis.

Chapter 1: Sketch – An introduction

This outlines the author’s own experience as naive art school grad, and the helpful mentors that helped him get started.

Chapter 2: Composition – Playing well with others

This chapter defines how an artist should interact with others in the artworld, including “top 10 behaviors to avoid when working with others” Chapter takeaway: Respect is key

Chapter 3: Process – The Daily Grind

This chapter deals with goal setting to structure your time and career path, and offers an exercise to develop a plan for the near, medium and long term. The authors talk about breaking down the goal in to smaller steps to determine a plan to achieve the goal. Touching on marketing, researching and networking, the chapter takeaway is: Have a plan!

Chapter 4: Craftsmanship – Attention to Detail

The authors discuss developing a professional voice in correspondence and emails, how to introduce yourself by email, building the necessary tools: a CV, a website, Artist statements, Social media profiles, etc. A pragmatic chapter with a takeaway to craft your materials to the audience, and pay attention to the small details to put your best self forward.

Chapter 5: Critique – Getting your work out there

“Marketing” in this chapter, refers to anything the artist does to get their work seen. The authors talk about finding an audience for the work you want to do, and not changing your work to fit an audience. The chapter covers holding open studios, different types of exhibitions, such as Juried, DIY, Artist co-ops, etc,. and commercial galleries. Chapter takeaway: Many ways to get your work in front of an audience-find the one that suits you.

Chapter 6: Context

This segment is full of pragmatic advice on mounting an exhibition, from hanging to lights and labeling. Press releases, pricing and finally delivery of your sales. A handy 12 month checklist for preparing for your exhibition. Takeaway: Advance preparation is essential!

Chapter 7: Materials – The building block of business

Finding a studio, what to look for. Health and safety. Accounting, inventory and recording keeping are all covered here. Takeaway: Transitioning from student to professional means dedicating time to the business end of the practice.

Chapter 8: Self-Portrait – Living the dream

Jobs in the art world. Rejection and how to deal with the natural ups and downs of a career. Takeaway: Love what you do.

Appendix

Examples of: artist’s Statements, Press Releases, Record Templates

Posted April 8 2018 Peter D Harris

your creative career

by Anna Sabino

Paperback: 192 pages
Publisher: Career Press; 1 edition (Jan. 15 2018)
Language: English

Anna Sabino writes from a position of experience in this how-to book about taking your creative side project from a hobby to a worthwhile and profitable career. Beginning her career as a market analyst on Wall Street before quitting to pursue her passion as a jewelry designer and starting her business, Lucid New York, Anna describes how she successfully turned her dream into a viable business.

I enjoyed how Anna was able to draw on her own successes and failures along the way, as well as the stories of other creative entrepreneurs in their quest for success and freedom from a conventional career. Throughout the book there are many references to other self-help and art-career books to research for more in depth analysis. I found myself taking notes often to add to my book list.

The information and the inspiration one might receive from a book like this, is pointed at people already in the work force who need a small push to turn their dream into a business. I think its designed as much as pragmatic advice as inspiration to get off the couch and get started. Early in the book, she explores the idea of “Dream Doers” vs “Dream Squeezers” vs “Dream Postponers” to describe three different approaches to designing a dream creative career to fit different personality types. Other chapters which I found personally useful, included information on dealing with rejection, the value of honest feedback, and social media strategy.

This book is not geared towards fine artists looking to exhibit in the gallery world or for those who might take an uncompromising view of their work. If the advice “the answer to the question of how not to be a starving artist is simple: start making things people want.” sounds like the road to mediocrity and compromising of your core value, this book probably isn’t for you. But, for artists or craftspeople who would look at their output as a product to be marketed and sold, and are open to tailoring their creative output to meet market demands, this book will offer a lot of insight into making your dream a reality.

To see a brief summation of each chapter from the author herself, visit https://yourcreativecareer.com/gift/ to watch short video clips of the author distilling the information in her book.

posted April 7 2018 by Peter D Harris

Artwork photography: cross-polarizer tutorial

Lowel Tota-lights, Lowel Tota-frame, light stands, tripod

Artwork Photography tutorial: Cross Polarization

One of the more challenging aspects of good artwork photography is accurately reproducing your paintings, free from glare or shine. This is especially a problem for oil painters, artists working with resin coatings, for glossy surfaces, and pre-varnished works. The basic advice often given for artwork photography is to set up your lights at a 45 degree angle from the artwork, and start clicking. Works perfect, but only if you are shooting pieces that have no texture, are perfectly flat, and have no gloss or shine. For those painters working with texture, or shinier surfaces, especially historical artworks that may have a heavy varnish layer applied, the standard advice will leave you with visible glare and washed out areas. The answer is to cross-polarize. Cross polarization is a technique where a polarizing filter is applied to the lens, and over the light source. This allows the photographer to control the light and eliminate all glare from the surface, preserving colours and saturation in the darker areas of the artwork.

Equipment:

Lowel Tota-Light

Lowel Tota-frame

Light stands

Polarizing filter sheet

Digital SLR/camera that can accept a lens filter

Lens polarizer filter

tripod

Set-up

I recommend using a cable release if you have one. If not, use the self-timer function on your camera so that you are not physically touching the camera during the photo. This will help to remove any sources of movement or vibration.

It is necessary to match the white balance on the camera to that of the Halogen bulbs. Different bulbs have a different Kelvin rating (Kelvin is a scale which is used for colour temperature. Daylight is 5600K, while incandescent lights are often 2800K) The bulbs I use came with an information sheet that lists the output as 3000K. This ensures better colour accuracy in the final photo.

Digital SLR settings. note light temperature setting.

With a camera mounted on a sturdy tripod, lights should placed at a 45 degree angle from the artwork. Ensure that the artwork is level with the camera, and that the centre of the lens is directly in the centre of the artwork. I recommend using a measuring tape, to measure from the floor up to the centre of the artwork, and then raise or lower your camera to match the same height. This will help to ensure that the artwork is square within the frame of the camera.

Polarization Comparison

This painting exemplifies the challenge in photographing shiny, dark paintings. This painting from 2004 was varnished, and quite shiny. The dark areas are especially prone to showing glare and reflections.

Image 1 – no Polarizer on the lens, and no polarizer on the lights. Lots of glare, and washed out areas.

Image 2 – Polarizer on the lens only. Reduction in the glare, but not perfect.

Image 3 – Cross-polarized. Polarizer on the lens and on the lights. Glare eliminated, success!

Example without polarizer on lights or lens

March 24 2018 Posted by Peter Harris

paint brush brands

kalish filberts, handles, brushes — Kalish filberts and handles

As a painter, I’m always researching new brands for paint brushes- especially great hog bristle oil brushes. I’ve tried many brands, and at the moment Kalish are my favourite (read my review here), although I also enjoy and use Grumbacher, Treckell, Pro Arte, Rosemary… they all have their distinct characteristics, which makes them as individual as the artist that use them. Below is a list of brush makers from around the globe. Happy brush hunting!

For an overview of different brush types, I recommend Steven Saitzyk’s informative website here

Brush manufacturers:

January 24 2018 Posted by Peter D Harris

Kalish brushes review

Kalish Finest Brushes

I’m always on the lookout for new art supply companies and manufacturers to test their products against my old favourites. For oil painters, our materials are fairly basic- paint, brushes, canvas and stretchers-but the subtle differences between brands in each category can make a tube of paint or a new brush feel either like a revelation, or like you’ve just flushed your money down the toilet. I’m always searching for a better brush, and Kalish’s made in Ireland brushes are my new go-to brush, and my best art supply discovery of 2017.

Kalish Finest Brushes is a family business based out of New Jersey, USA, and manufacturing in Ireland. They are an internet/mail-order company only. While they’ve been in business for many years, I’ve only just come across their website while searching for new brushes. Their web presence is small compared the bigger brands, and their website looks pretty dated by today’s standards. Don’t let that deter you- I’ve places two orders now from Canada, and both times the order has arrived without a hitch in 7 days.

Well packaged for the trip from New York to Canada.

My first order was a bit of trial run, and I ordered my usual style- Filberts, in the natural Chungking bristle. I ordered a variety of sizes: #1, #2, #4, #6, #8 #10, #12 and 2 fan brushes, #4 and #6.

Kalish FInest brushes, oil paint — My brush order…ready to paint!

After unpacking my order, I put my brushes into action alongside all my others – my Winsor and Newton, Escoda, Treckell, Grumbacher, Raphael, Pro Arte, Rosemary…yes, I’m a bit of brush nut/hoarder!

After working with the brushes for 2 months and completing 3 paintings, I found myself reaching for the Kalishes more often, and pushing the other brands to the side. The brushes have a great shape to them that holds up when loaded with paint. They are relatively stiff , so they don’t collapse against the canvas as a synthetic, or lighter brush would.

I haven’t had any issues with the brushes losing hairs as I work.

I tend to both mix paint with my brush, and scrub my canvases with them, so how a brush wears down over time, is critical. I eventually will wear out every brush down to a nub, and the best brushes can be used until the very end. After a few months of hard work, I’m wearing my brushes down, but they’re retaining their shapes nicely, and I expect them to remain viable until the very end.

The brushes come with a nice black handle and silver coloured metal ferrule. The brush handle is what you would expect- sturdy enough for a long handled brush and the ferrules are still tight after a few months work.

Overall, the Kalish chungking brushes have been a great purchase-I was happy enough to place my second order for more brushes 2 months after my first order.

Find out more about Kalish brushes at their website:

Kalish finest brushes website